The Jerry Garcia Gateway to Bluegrass for Town Mountain
From our archives in 2012:
Jesse Langlais from Town Mountain joins Country Fried Rock to dive deep into the roots of his bluegrass journey and the creative spark that fuels his music. He kicks things off by sharing how a chance encounter with a bluegrass CD transformed his musical path, leading him from a casual listener to a passionate banjo player. As the conversation flows, they explore the vibrant bluegrass scene in Asheville, where Jesse honed his craft alongside fellow musicians, fostering a community where creativity thrives. The duo also chats about the delicate balance between respecting traditional bluegrass and pushing the genre into fresh, uncharted territories. Tune in for a laid-back yet insightful chat that reveals how Jesse and Town Mountain are shaking up the bluegrass world while keeping it real.
Show Notes
- Jesse Langlais of Town Mountain joins the podcast to share his journey into bluegrass music.
- Grew up surrounded by diverse musical influences, including Ray Charles and James Taylor, but didn’t pursue music seriously until his late teens.
- A chance encounter with a bluegrass CD featuring Jerry Garcia sparked his passion for the genre.
- Describes falling in love with the sound of the banjo and the journey to find the right instrument and musical identity.
- Reflects on moving to Asheville and becoming immersed in a thriving bluegrass community.
- Shares experiences from local jams and gatherings, including Shindig on the Green, highlighting the importance of community in bluegrass culture.
- Emphasizes how collaboration and shared musical experiences help preserve and evolve the genre.
- Discusses his early drive to write original music, even as a relatively new player.
- Explores the balance between honoring traditional bluegrass roots and pushing creative boundaries.
- Explains how Town Mountain blends authenticity with fresh sounds to reach both longtime fans and new listeners.
Mentioned in this Episode
- Ray Charles
- Little Feat
- James Taylor
- Jerry Garcia
- Bill Monroe
- Flatt and Scruggs
- Stanley Brothers
- Jimmy Martin
- Asheville Country Music Review
- Mike Bub
- Del McCoury Band
- Scott Vestal
- Pine Castle Records
- Putumayo
- Allison Krauss and Union Station
- Sam Bush
- David Grisman
Recommended If You Like
country fried rock, bluegrass music, Jesse Longley, Town Mountain, music inspiration, Asheville music scene, bluegrass community, songwriting process, traditional bluegrass, progressive bluegrass, music creativity, banjo playing, live music performance, music collaboration, music recording process, original music, bluegrass jams, Appalachian music, Folk music, musician interviews
Mentioned in this episode:
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These podcast episodes are from 2009-2020. Links are probably dead. Half these places do not exist any more.
Transcript
Welcome to country fried rock, where we talk with musicians to find out what inspires their creativity.
Speaker A:Country fried rock music uncovered.
Speaker A:My guest today on country fried rock is Jesse Longley from town mountain.
Speaker A:How are you, Jesse?
Speaker B:I'm doing well.
Speaker B:How are you?
Speaker A:I'm great.
Speaker A:Thanks so much for being with us.
Speaker B:Yeah, happy to be here.
Speaker B:Thanks for having me.
Speaker A:How did you get interested in playing music early on?
Speaker B:Well, I grew up in a house that loved music.
Speaker B:My first concert that I can recollect was a Ray Charles concert.
Speaker B:I grew up on good music, Ray Charles, little feet, James Taylor, but I never played music.
Speaker B:And I guess I got in my late teens, early 20s, and decided that I was ready to pick up an instrument.
Speaker B:And I threw a series of trial and error with piano, and then I played a little harmonica and didn't really take any of that too seriously.
Speaker B:I was trying to find the instrument that was right for me.
Speaker B:I had access to 100 guitars if I wanted them, but it didn't seem to speak to me at the time.
Speaker B:And I just randomly bought a bluegrass CD one day old.
Speaker B:Him and away, which is a band that Jerry Garcia was in.
Speaker B:And at the time, I was way into the dead and, you know, 60s and 70s rock.
Speaker B:And I bought that bluegrass CD and popped it in and changed the course of my musical life, I guess, because I didn't really know what bluegrass was up until that point.
Speaker B:A lot of people that didn't grow up in the southeast and around the music, you know, Jerry Garcia brought them into the folks.
Speaker B:As soon as I heard the banjo, I remember, I remember popping that CD in and doing some dishes at my folks house or something, and I heard that banjo and I was like, that's what I want to do.
Speaker B:So I bought a banjo not far after that.
Speaker A:So you actually came to playing an instrument pretty late?
Speaker B:Yeah, absolutely.
Speaker B:I was in college.
Speaker A:Which kind of banjo did you get into it first?
Speaker B:As soon as I was able to put a label on what bluegrass was, I went straight to the source.
Speaker B:Back where it all began.
Speaker B:I listened to a lot of Bill Monroe, loud and scruggs, Dan Stanley brothers, Jimmy Martin.
Speaker B:So I was really interested in the tradition of it.
Speaker B:That's kind of where it started.
Speaker A:Were you teaching yourself to pick?
Speaker A:How did you get started there?
Speaker B:Right off the bat, I didn't know anybody in the scene.
Speaker B:So one of my good friends from home had picked up the mandolin at the same time.
Speaker B:So we were both digging into the depths of bluegrass music and learning about it and trying to figure some things out on Our own.
Speaker B:And it just so happened to be that a guy that lived 10 minutes from us was an amazing picker to play anything with strings as good as anybody.
Speaker B:And we both settled in and took some lessons from him, and I took about, I don't know, six months of lessons from him, and that's kind of where my foundation was built.
Speaker B:And then did it on my own with some other friends I met up there, and then moved down to north carolina, where I started to get a little more serious about it.
Speaker A:In north carolina, there's the whole appalachian take on bluegrass.
Speaker A:So how did that lead to the development of your playing?
Speaker B:Certainly got me closer to where it's from.
Speaker B:And the people who have grown up and been a part of their culture also just moving to a town like asheville, There was a lot of other folks that were searching for the same thing.
Speaker B:So we all, some of my close friends now, and some of them town mountain members, Started to get into the music at the same time in the same area.
Speaker A:Asheville has a thriving bluegrass community, not just in the town, but the whole surrounding area.
Speaker A:What kind of outlet did that give
Speaker B:you for playing publicly, really accepting right off the bat?
Speaker B:There's a lot of music in the asheville area and a lot of functions that are open to pickers of all ages.
Speaker B:There was a couple steady bluegrass jams, one in asheville and one in black mountain, that I had gone to on a regular basis for the first couple years that I lived there.
Speaker B:Once again, a lot of younger players, some from the area, some not, that were coming there and playing and learning how to play the music.
Speaker B:And then, you know, you'd have some of the locals in that mix, kind of helping everybody along, teaching about the music.
Speaker B:And then there was other things, like a function in the summertime called shindig on the green, which allows a lot of the local.
Speaker B:Local people to come out to asheville proper and pick with a bunch of young folks.
Speaker B:So, yeah, there were so many lfs for pickers of all ages to actually go and play with folks that were better than them.
Speaker B:And that's kind of how the music's been a long time.
Speaker B:It's always been something that's been passed down from generation to generation, and asheville certainly caters to that.
Speaker A:So at what point did it lead to you writing original music?
Speaker B:I feel like as far back as I can remember playing or starting to play, I felt like I was also writing very elementary stuff, you know, far back as I can remember, you know, this is not, like, me as a Child, this is still me in my 20s years.
Speaker B:I guess for me that creative outlet needed to happen in both areas at the same time.
Speaker B:Actually, that's an interesting thing.
Speaker B:Question.
Speaker B:You bring that up because one of the tracks on town mountain's newest album is a song that I had co wrote with two of my friends probably close to 12 years ago, right when I had moved to Asheville.
Speaker A:Huh.
Speaker B:And that's not too long after I started playing.
Speaker B:And I never, I never thought about that until that question.
Speaker B:That's pretty interesting.
Speaker B:Hey, this is Jesse down mountain and you're listening to country fried rock.
Speaker A:You started playing later than most people that I talk with, but you started writing very much more at the onset, which is fairly unusual for people in the bluegrass scene.
Speaker A:You usually.
Speaker A:There's that whole replication of the traditional catalog before people branch out.
Speaker B:Yeah, I mean most bluegrass that gets played is stuff that's been played, part of the preservation of the music.
Speaker B:I certainly respect that.
Speaker B:We can play Orange Blossom special, which is a plus the music.
Speaker B:We as a band and certainly myself respect the tradition of the music.
Speaker B:And we love jamming those songs.
Speaker B:That's what pick them with your buddies is all about.
Speaker B:And you know, if there's a tune or a song that's from tradition or at least something that's been into bluegrass in the past 50 years and we like it, sometimes those songs, not a lot, but a few, make it into our repertoire.
Speaker B:But the thing about music in general, as an artist, you should always be trying to create something new that appeals to the traditionalist and the progressive lover of whatever you're doing.
Speaker B:And that's when you win.
Speaker B:That's when you say, well, I've got these people who really like the sound because it sounds traditional.
Speaker B:I've got these people who really like the sound because it's.
Speaker B:And for me, you know, I've got a story to tell.
Speaker B:You know, every once in a while I like to write it.
Speaker B:And when I write for town Mountain, you know, it gets the genre of bluegrass.
Speaker B:Not everybody in town mountain writes, especially me, writes for bluegrass exclusively.
Speaker B:But you know, out of five songs you write, you know, maybe two or three of them are bluegrass style tunes.
Speaker B:The others may be singer songwriter, but in any case, it's just trying to bring some new direction to a music that we respect.
Speaker B:With music today, you've got to keep things fresh.
Speaker B:I mean, that's how, that's how you gain new fans.
Speaker B:Bluegrass music, generally speaking, there's bands that are doing this, that are creating music, but there's A lot of bands that are just playing to the same audiences, the same material, and they're not getting new fans involved.
Speaker B:And that's kind of a common problem for a lot of bands.
Speaker B:And it's an issue with bluegrass music today.
Speaker B:Like in 50 years, what's going to happen?
Speaker B:We're trying through our creative process, we're trying to put some longevity into the genre.
Speaker B:I guess there's the traditional vein and the progressive vein, and those staunch traditionalists draw the line, say, I'm not going to like that other stuff.
Speaker B:The key is to taking tunes like maybe a singer, songwriter tune that you've written that has a lot of depth or emotion or word.
Speaker B:And it's not this kind of formula bluegrass tune.
Speaker B:But you can take that and pop it into the formula of bluegrass music.
Speaker B:And all of a sudden you've got a song that is not bound by any genre, but conveyed in the bluegrass genre.
Speaker B:Then you've got these people who hear that bluegrass sound, that classic bluegrass sound, and say, okay, I can dig this.
Speaker B:Get on board.
Speaker B:That's where I come from, you know, writing really almost anything.
Speaker B:Because Town Mountain is my main project as of now.
Speaker B:Everything that I put on paper, I'm like, how can I this work for Town Mountain?
Speaker B:Oftentimes it doesn't, but every once in a while something will work.
Speaker B:It's really just trying to.
Speaker B:Trying to be creative, but still pulling those folks that are on the very right side of bluegrass in towards the center a little bit.
Speaker B:That's what's going to help keep the music going.
Speaker B:Those other tunes that I write or that anybody else in the band writes, some of them will get filed away and never looked at again, and some of them will pop up in projects that we do down the line.
Speaker B:And you know, I've got my eyes at on a solo project here sometime in the near future, I hope, at least I'd like to get some of this material down.
Speaker B:And I know that everybody else has aspirations to do a solo project at some point in time, get those other ideas out there.
Speaker B:There's a lot more than just bluegrass music out there for sure.
Speaker A:When you are writing a song on your own and then you bring it to the band, what is the decision making process or the musical process that you all go through as a group?
Speaker B:More often than not, the song is pretty much done in terms of lyrics, melody, chord progression.
Speaker B:That's all set in stone.
Speaker B:But the band still has a huge role in shaping the song to what it ends up being in terms of arrangement.
Speaker B:Or maybe we'll change a word here, or maybe we'll add this line here, or let's try this chord here.
Speaker B:So, final product the band always has a little snippet of advice or input on each song, but as a whole, the structure of the song, the things that make the song really what it is, come already presented to the band.
Speaker B:That's how we work.
Speaker B:We don't really do a lot of writing as a band.
Speaker B:We.
Speaker B:We've all tried it in the past.
Speaker B:Just doesn't work for anybody in Town Mountain to sit down and come up with other songs.
Speaker B:It's not to say that it won't in the future, but it just hasn't at this point.
Speaker B:Some of us have other writing partners outside the band.
Speaker B:Some of us write on our own.
Speaker B:Usually we use a combination of all that.
Speaker B:The band has a big part in the way the song sounds at the end.
Speaker B:It's nice to have that because you can only come up with so many ideas.
Speaker B:Nice to bounce your ideas off four other brains and come up with a final product that has more than one person thinking about it.
Speaker A:Several great musician friends of Country Fried Rock generously donated songs for a free music sampler.
Speaker A:Download it@noisetrade.com countryfriderock 19 songs to help raise awareness and money for Nucci's Space, a nonprofit serving the mental health needs of musicians in the Athens, Georgia area.
Speaker A:Find out more about Nucci's at n u c I.org for the songs that you all end up recording, do those songs see stage life before you end up recording them?
Speaker B:Oh, absolutely.
Speaker B:Well, not true.
Speaker B:Most of the time, yes.
Speaker B:This most recent album, Leave the Bottle, I think there might be like four or five songs that had never seen the stage, which is interesting for Town Mountain because the previous three albums were all songs that had seen the stage.
Speaker B:And there's two sides to that.
Speaker B:One says, well, effectively, song really needs to be played in order to find its paths.
Speaker B:The other side of that is, yeah, but what about spontaneous creativity that, you know, happens with improvisation or on the spot rehearsal or on the spot playing?
Speaker B:I think it worked out really good for the album.
Speaker B:The five songs that just were worked out in the studio.
Speaker B:And I think it would be really fun sometime to go into the studio and take ideas of songs and go in there and bang it out.
Speaker B:But you need a big budget for that.
Speaker B:We don't have quite the big enough budget, so we have to be somewhat prepared going into it, you know.
Speaker B:Yeah, it was a fun experience for all of us.
Speaker A:Well, so then what Changes for you all for a song from when you think you've got it done to when it ends up being out there in the world.
Speaker B:Arrangement stuff.
Speaker B:Often might play an arrangement on the song and get to a point where played it and maybe the banjo is doing something here.
Speaker B:And then you're like, no, it would really make more sense if it'll be this kind of melodic thing here.
Speaker B:And then the banjo came in after.
Speaker B:Or the song could start as a duet vocally, and then you play it a bunch and you realize, oh, after standing there on stage playing it 15 times, the baritone really adds a nice flavor into it.
Speaker B:It's little nuances like that.
Speaker B:They're not anything that really changes the song in a drastic way.
Speaker B:But it's the little things that without playing with each other a bunch of times, you would never feel this little change here.
Speaker B:They're all just these little kind of pinches of salt to the pot of soup, so to speak, you know, where you're just adding a little bit of flavor here, there.
Speaker B:And sometimes, often to the average listener, they might not even hear those things.
Speaker B:Or you could play something that six months of recording of something, you know, one song six months prior to a recording of it, and there would be these little nuances that they may not hear, but you as an artist feel they're a necessity.
Speaker A:So in terms of the actual recording process, then coming in with half the songs having had public life and half being new, how did that change the recording process for you all as a group?
Speaker B:It really didn't.
Speaker B:It didn't change the recording process at all.
Speaker B:I can speak to the recording process itself before I go on to that.
Speaker B:I will say that no matter where the song had come from or how old the song was or how well we knew the song, that doesn't really affect the recording process itself.
Speaker B:We went into the studio on this last album saying, this is our recording process.
Speaker B:And then all the tunes, whether they were rehearsed or not, fell into those guidelines.
Speaker B:The way that we did it is most an 80% live recording where everybody's isolated in their own booths, everybody plays with each other, you play with a scratch vocals, try to nail everything instrumentally first time through that time through.
Speaker B:And don't worry about vocals.
Speaker B:We'll come back and we'll hit the vocals separately.
Speaker B:It's a live playing field with vocals worked out to exactly where you want them to be.
Speaker B:And then, for instance, if you're playing a song, that brand new tune, and you're not so familiar with the song, Being isolated in your own booth allows you to play live, but then come back and without any bleeding over from other instruments into your microphone gives you the opportunity to maybe take a solo again on one of those new tunes that you weren't so familiar with that were brand new to the studio.
Speaker B:That was our process.
Speaker B:A fair number to say is 80% live.
Speaker B:And we did the same thing on our last album.
Speaker B:It's pretty, pretty much a live feel with some other things that were overdubbed in the final processes.
Speaker A:Who do you all like to bring into that recording process?
Speaker A:In addition to the band past three
Speaker B:albums we've used the producers and the past two albums used Mike Bubb.
Speaker B:You know, my bub played bass with Del McCrary band for, you know, 13 or 14 years.
Speaker B:He knows bluegrass as good as anybody else.
Speaker A:IBMA award winner and exactly Grammy award
Speaker B:winner, played music his whole life.
Speaker B:And not only is he a great musician and knows the nuances of bluegrass and acoustic music, he's like this wealth of bluegrass knowledge and country knowledge.
Speaker B:He's got so many great stories, which makes it nice to be in the studio with somebody who's been around and can relate to you, where you came from, where you're going.
Speaker B:You know, having been there himself, he was a pleasure to work with.
Speaker B:I mean, that's obviously why we brought him back to Leave the Bottle.
Speaker B:He was just.
Speaker B:We wanted a nice mediator between band members, somebody who was going to bring some fresh ideas to the table, which he certainly did.
Speaker B:And then there's always an engineer.
Speaker B:This past album Leaves the Bottle.
Speaker B:We had Scott Vestal in the studio with us.
Speaker B:We're actually at his studio, Digital Underground, north of Nashville.
Speaker B:What can I say about Scott?
Speaker B:He's one of the best banjo players alive, one of the best musicians alive.
Speaker B:He's phenomenal.
Speaker B:And not only that, but he's been recording bluegrass music for 20 some odd years and he's a fine engineer.
Speaker B:The sonic quality to this new album far exceeds any of the others.
Speaker B:He really knows how to pull the best sound out of your instrument and then make quality of the recording sound as good as it can.
Speaker B:And once again, another bluegrass aficionado who knows more about the music than most people.
Speaker B:So along with all the hard work that we put into this album, there was many stories and laughs shared through throughout the week.
Speaker B:Hey all, if you like what you're hearing, please get online to www.townmountain.net and check out our newest release, Leave the Bottle on Pine Castle Records.
Speaker A:How did you all originally decide to Work with Mike?
Speaker B:Well, he produced.
Speaker B:Oh, I think it was one dime at a time.
Speaker B:It was one of the Steve King rangers album.
Speaker B:And we live in the same town as some of the Rangers.
Speaker B:We've all known each other for, you know, 10 years or so, and we're all close friends and we really respect those guys as people, but as music.
Speaker B:And they've always looked up to their band and seen what they've done and tried to follow that.
Speaker B:Woody and those guys were always singing his praises, singing Mike's phrases, saying, you know, if you ever get the opportunity to work with Mike, you should.
Speaker B:So it was certainly under their recommendation.
Speaker B:Not that Mike buff can't speak for himself.
Speaker B:It was the Rangers that guided us into finding Mike and having work on these projects with us.
Speaker A:What are your plans then in terms of release of this upcoming record?
Speaker B:Well, right now we're in the middle of a five week tour, trying to do a little bit of pre publicity.
Speaker B:This is the big push before the release date.
Speaker B:So get it out there, get these initial copies into people's hands that come see us.
Speaker B:And then come September 4th, we've got still two months of a busy schedule, mostly regional, southeast region.
Speaker B:There might be some extension of that.
Speaker B:You know, we're trying to get a nice, you know, west of the Mississippi push before September 4th comes out so we can go back home and then focus on southeast and push the album there.
Speaker B:You know, our plan is to get the album out there, get a little more recognition and clout within the bluegrass community.
Speaker B:I think this is the album that is going to help push us in the scene a little more.
Speaker B:It might be our most bluegrass album, although it's kind of hard to say that because we are a bluegrass band.
Speaker B:It's going to talk to the traditional bluegrass lovers more than it has before, really.
Speaker B:We just want to gain a little more respect in the community, get our name out there and have people know who we are.
Speaker B:And that's really it.
Speaker B:You know, get a lot more radio play.
Speaker B:Another thing we're shooting for that's been happening.
Speaker B:We've been getting some really great publicity, press and airplane already with the album.
Speaker A:Most bands tend to have certain venues where that literally their sound is great for the band.
Speaker B:I just love playing at festivals for the most part.
Speaker B:Sound at festivals is run by professional sound companies and you're going to get top quality stage sound and sound that's being pushed out to the audience.
Speaker B:Nothing beats playing a festival for a bunch of folks that are really hyped up, ready to be at A festival.
Speaker B:And some of those rooms that have super great sound are also very quiet.
Speaker B:And the audience may not give you all this energy to feed off.
Speaker B:There's a direct relationship between audience participation or enthusiasm, how the band sounds and plays.
Speaker B:That's kind of a broader thing of the show itself is that sound may not be the best, but with audience into it, with the band into it, if you can get that, then you'll sacrifice a little bit of sound.
Speaker B:There's a lot of great venues around that we play that have great sound.
Speaker B:Hey, if you like what you're hearing, come by and purchase your copy of Leave the bottle@pinecastlemusic.com or come see Town Mountain at your nearest venue.
Speaker B:Townmountain.net See ya.
Speaker A:One of the nice things about festivals for bands is a lot of times you actually get a chance to see other bands, which is fairly rare.
Speaker A:Has there been anyone that either might not be on anyone's radar, but they might be.
Speaker A:That's been like, yeah, these guys are great.
Speaker B:Yeah, I'm really into this band called Lake Street Dive.
Speaker B:I love that band.
Speaker B:The Deadly Gentleman.
Speaker B:Sam Grisman's in the band.
Speaker B:David Grisman's young son, a bunch of those young guys.
Speaker B:Greg Litz from Crooked Still.
Speaker B:Yeah, I wouldn't be able to see the amount of music that I see if I wasn't in a band, you know, being able to go to a festival and see the Wood Brothers and Taj Mahal, you know, back to back.
Speaker B:And I'm getting paid for this.
Speaker B:Yes.
Speaker B:Sign me up for more.
Speaker A:That's so true.
Speaker A:So with a brand new record, it's a little bit premature to say.
Speaker A:So what else is working for you?
Speaker A:All you.
Speaker A:You've mentioned that all of you kind of have other songs outside of the Town Mountain project.
Speaker A:What do you think that might look like?
Speaker B:I don't know of anybody in the band right now that has anything else set in tone.
Speaker B:I will say, you know, like I mentioned before, I would love to take this winter and start a solo project which would probably not be very bluegrassy at all, but would incorporate a lot of the same instruments.
Speaker B:And I've got a lot of material that would fall under that category.
Speaker B:Our bass player, John Stickley, who is a phenomenal guitar player, just released his second solo project just maybe a month or so ago.
Speaker B:Yeah, he's got a brand new project.
Speaker B:It's awesome.
Speaker B:It's kind of bluegrass fusion, if you will.
Speaker B:But we're all creative.
Speaker B:We also have a.
Speaker B:Town Mountain has a side band that we don't really do a lot of original music.
Speaker B:But every once in a while, we're able to get together and play.
Speaker B:We've got a country band called the asheville country Music Review, 4/5 of town mountain with some other asheville folk.
Speaker B:It's straight up Waylon, Willie George Jones Country, 70s style, country, fun.
Speaker B:Oh, it's a great band.
Speaker B:We all wish that we were able to take it on the road.
Speaker B:There's nothing on the books for anybody right now.
Speaker B:I hope that one of us can make something happen this winter.
Speaker B:You know, it's hard.
Speaker B:You spend so much time with the band and you do your thing with the band that oftentimes when those breaks come, you know, like, I'm just gonna maybe take a break, you know, let the winter roll on by.
Speaker B:But I am gonna try, like, to be motivated this winter and get some stuff recorded, start working.
Speaker A:Jesse, what is this puta mayo compilation thing that y' all are on?
Speaker B:We just got added to putamyo's first bluegrass compilation.
Speaker B:You know, putamayo has been a label that's put out compilations for I don't know how many years now, and they've tended to focus on quote, unquote world music.
Speaker B:Now bluegrass is quote, unquote world music.
Speaker B:Yeah, it was something that we're certainly proud and honored to be part of.
Speaker B:We had a track picked from study operator.
Speaker B:Track is called digging on a mountainside.
Speaker B:The song itself speaks to overdevelopment of western north Carolina.
Speaker B:We're on there.
Speaker B:We're one of the younger bands.
Speaker B:There's folks like Allison krauss and union station, Sam bush, David grisman and Jerry Garcia that are on there.
Speaker B:So we are certainly honored and very humble, humbled to be put on such a thing.
Speaker B:And that came out May 22.
Speaker B:I usually introduce this song on stage, and I always like to make the joke.
Speaker B:Bluegrass is now considered world music because in reality, it's all world music.
Speaker B:We're all playing music on this world.
Speaker A:Well, wow.
Speaker A:Thanks a lot, Jesse.
Speaker A:I really appreciate your time chatting with us about the town mountain project and about other work that you may have coming out.
Speaker B:Yeah, thanks for having me.
Speaker B:I look forward to meeting some folks that listen in.
Speaker A:Definitely.
Speaker A:Y' all take it easy.
Speaker B:Thank you.
Speaker A:Do country fried rock.
Speaker A:Find the full playlist from this episode on countryfriedrock.org check us out on itunes.
Speaker A:No music, just talk.
Speaker A:Our theme music is from the full tones.
Speaker A:Our country fried rock stinger is from Steve Soto in the twisted hearts.
Speaker A:Country fried rock.
Speaker A: Copyright: Speaker A:All rights reserved ever.
Speaker B:He been helping us.
Speaker B:Country fried rock.
